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Stars: Kodi Smit-McPhee, Chloë Grace Moretz, Elias Koteas, Richard Jenkins, Dylan Minnette
Release date: October 1, 2010
Adolescence
is the big suck. Your tween/teen body is an awkward, sprouty, hormonal
thing that belongs to neither the child or adult worlds. Your ownership
of it is questionable anyhow because the older authority figures you
still legally depend upon tell you what you can and cannot do with it.
And peers try to hide their own titanic insecurities by trashing you,
sometimes literally stuffing you into a can.
It’s
no wonder why teen vampire dramas have become so popular with puberty’s
prisoners. In escapist fantasies like Twilight and The Vampire Diaries,
young bloodsuckers are powerful, attractive, and everybody wants a
hickie from them. These properties are sugary fluff that gets stuck in
your braces, but they serve their purpose of distraction.
For
those who’d rather stare down the often ugly and painful reality of
childhood, the adolescent “vampire movie” to watch is Let Me In,
Cloverfield director Matt Reeves’ 2010 American remake of Let the Right
One In, Tomas Alfredson’s 2008 Swedish film, which former bullying
victim and screenwriter John Ajvide Lindqvist adapted from his 2004
novel. Why the quotes? Because Let Me In is about vampires like The Wire
is about surveillance equipment.
Unlike
movies that make life after death look fang-tastic, both of these
adaptations use vampirism as a metaphor for everything that’s difficult
about adolescence. You’re trapped in a strange body. You’re limited in
where you can go and when. Nobody understands you. You feel like ripping
people’s throats open.
A
dark and violent coming-of-age love story between a scrawny, bullied,
12-year-old boy named Owen (Kodi Smit-McPhee) and Abby (Chloë Grace
Moretz), his new vampire neighbor who’s been trapped in her
bloodthirsty, sun-averse girl body since she was turned lifetimes ago,
Let Me In goes to some disturbing places. When Abby meets Owen in his
apartment complex in Los Alamos, New Mexico, his existence is a lonely
one. His dad is absent, his mom props herself up with alcohol and
religion, and outside of regular physical and verbal abuse from school
bully Kenny (Dylan Minnette) and his two sheepish friends, Owen has
little interaction with classmates. He fantasizes about revenge, hurling
the same emasculating insults he receives at a mirror and tree,
stabbing the latter repeatedly with a pocket knife. In Abby, he finds an
equally isolated and sad spirit, and someone to help him fight back for
real.
It’s
rare that we’ll tout a remake over the original—there were plenty of
calls to put Let the Right One In on this list—but Let Me In is not your
typical underwhelming and unnecessary exploitation of American
moviegoers’ allergic reaction to subtitles. Both films are quite good,
and remarkably feature flawless performances from child actors, but as
dark as Alfredson’s version is, Reeves’ even grimmer take on Lindqvist’s
novel does more with the themes. Perhaps it’s American sensitivity to
bullying and school violence, but the little Swedish bullies seem more
like Martin Prince from The Simpsons than the hate-filled dangers of Let
Me In. Owen’s terrified cries and pants-wetting when he’s given a
wedgie that could literally tear him a new asshole, or when boys drag
him half naked to the pool to put the scare of drowning in him, are
terribly upsetting.
Similarly
disturbing in Reeves' version is the more feral quality that he and
Moretz bring to Abby when she's in vampiric thirst mode. She’s ugly,
scary, and barely able to control her impulses and survival instincts,
and yet she’s all that Owen has, and a sympathetic figure in her own
right. (Personally, I could have done without the occasional CGI vampire
movements, which are present in both films but featured more heavily in
the remake, but mountains and molehills, you know?)
To
complicate the viewer’s rooting interest in Owen and Abby’s romance
more than Alfredson did, Reeves further developed the tragic figure that
is her creepy "father" (Richard Jenkins), who begrudgingly stalks and
kills people for Abby as she drifts away from him. He also replaced the
original’s innocent—but not entirely likable—local drunk, who pokes
around where he should not, with an entirely decent homicide detective
(Elias Koteas) who investigates what he believes are satanic cult
murders.
The
line between innocent youth and monstrosity gets blurry. And bloody.
Reeves' beautiful, masterfully orchestrated, and superbly acted film
ultimately asks more questions than it answers, which is perfect for a
horror exploration of the confusing period that is adolescence. After
all, it isn't until your early twenties that you think you know
everything. —Justin Monroe
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